Pub Date : 2023-01-02DOI: 10.1080/17411912.2023.2180050
David Verbuč
ABSTRACT In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. Through long term ethnographic study of local and translocal DIY scenes, including shows, spaces, and touring practices, I reveal a plethora of reciprocal musical and extra-musical activities that enable the creation of alternative DIY worlds. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. Drawing on Arjun Appadurai’s theories of value and commodity (1986), alongside other authors who examine the co-existence of different economic systems, I chart how DIY practitioners tactically navigate the boundaries between these reciprocal and capitalist economic systems and worlds. These socio-economic relations, I argue, also shape DIY sounds and aesthetics, as well as contribute to distinct musical values, discourses and practices.
{"title":"‘A whole society, with its own economic system’: the reciprocal and capitalist configurations of American DIY music scenes","authors":"David Verbuč","doi":"10.1080/17411912.2023.2180050","DOIUrl":"https://doi.org/10.1080/17411912.2023.2180050","url":null,"abstract":"ABSTRACT In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. Through long term ethnographic study of local and translocal DIY scenes, including shows, spaces, and touring practices, I reveal a plethora of reciprocal musical and extra-musical activities that enable the creation of alternative DIY worlds. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. Drawing on Arjun Appadurai’s theories of value and commodity (1986), alongside other authors who examine the co-existence of different economic systems, I chart how DIY practitioners tactically navigate the boundaries between these reciprocal and capitalist economic systems and worlds. These socio-economic relations, I argue, also shape DIY sounds and aesthetics, as well as contribute to distinct musical values, discourses and practices.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"5 - 27"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46594397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17411912.2022.2161591
Andrew Snyder
ABSTRACT Consensus decision-making has become increasingly popular in social movements and other community projects, ideally amplifying feelings of investment and ownership in a project and its goals. While use of consensus has been notable in amateur musical spaces, this article examines the consensus process of a professionally oriented alternative brass band in the United States, exploring whether consensus can be effective, efficient, and just in a group that requires frequent executive decisions to function. Based on my seven years of participation in the band and an examination of the advantages and disadvantages identified by members, I contribute to an emerging interest in ensemble governance and argue that despite the many benefits of consensus, the process can also fail to build full solidarity and equality between members. I suggest that those seeking to decolonise or horizontalise traditional hierarchical leadership models must engage with the many pitfalls that unconventional governance structures can create.
{"title":"Consensus process in the decision-making of a North American alternative brass band","authors":"Andrew Snyder","doi":"10.1080/17411912.2022.2161591","DOIUrl":"https://doi.org/10.1080/17411912.2022.2161591","url":null,"abstract":"ABSTRACT Consensus decision-making has become increasingly popular in social movements and other community projects, ideally amplifying feelings of investment and ownership in a project and its goals. While use of consensus has been notable in amateur musical spaces, this article examines the consensus process of a professionally oriented alternative brass band in the United States, exploring whether consensus can be effective, efficient, and just in a group that requires frequent executive decisions to function. Based on my seven years of participation in the band and an examination of the advantages and disadvantages identified by members, I contribute to an emerging interest in ensemble governance and argue that despite the many benefits of consensus, the process can also fail to build full solidarity and equality between members. I suggest that those seeking to decolonise or horizontalise traditional hierarchical leadership models must engage with the many pitfalls that unconventional governance structures can create.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"28 - 51"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43307122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17411912.2022.2158113
Matthew A. Haywood
ABSTRACT Recent ethnomusicological research concerning affect has mostly favoured contexts with lively and flexible performance standards at the expense of traditions that emphasise strict restraint and conformity to prescriptions. This gap in understanding risks erecting a new orientalism, and so this study aims to prevent such a possibility by demonstrating how a ‘restrained’ performance tradition does indeed affect. The forms and arrangements of mediators are highlighted as critical to producing the uniqueness of affective experiences, and subsequently, a more diversified approach to studying affect is proposed by introducing and delineating the term ‘shades of affective experience’.
{"title":"Different affects? Intercepting orientalism through the affective encounters and ritualised mediations of a Shin Buddhist chanting tradition","authors":"Matthew A. Haywood","doi":"10.1080/17411912.2022.2158113","DOIUrl":"https://doi.org/10.1080/17411912.2022.2158113","url":null,"abstract":"ABSTRACT Recent ethnomusicological research concerning affect has mostly favoured contexts with lively and flexible performance standards at the expense of traditions that emphasise strict restraint and conformity to prescriptions. This gap in understanding risks erecting a new orientalism, and so this study aims to prevent such a possibility by demonstrating how a ‘restrained’ performance tradition does indeed affect. The forms and arrangements of mediators are highlighted as critical to producing the uniqueness of affective experiences, and subsequently, a more diversified approach to studying affect is proposed by introducing and delineating the term ‘shades of affective experience’.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"97 - 119"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41542517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17411912.2023.2180409
Dave Fossum
ABSTRACT The idea of anonymity is central to how folk music is defined in Turkey. A widely circulating theory posits that folk songs are not simply anonymous because their authors are forgotten, but because folkloric creativity differs from the process of artistic creativity in other genres. This article draws on the concept of semiotic ideology to analyse the assumptions that mediate how subscribers to the anonymity theory hear folk music. The anonymity theory resonates with recent scholarly accounts of collaborative or distributed creativity, though the network of agency it maps is distinct. Other scholars have described a semiotic ideology associated with romanticism whereby the materiality of semiotic forms is constitutive or reflective of the interiority of an individual creator’s self. The anonymity theory, meanwhile, takes the materiality of semiotic forms to reflect a collective self’s interiority, and it locates creative agency beyond the individuals most involved in folk songs’ production.
{"title":"Authors and burners: imagining creative agency in Turkey’s musical folklore","authors":"Dave Fossum","doi":"10.1080/17411912.2023.2180409","DOIUrl":"https://doi.org/10.1080/17411912.2023.2180409","url":null,"abstract":"ABSTRACT The idea of anonymity is central to how folk music is defined in Turkey. A widely circulating theory posits that folk songs are not simply anonymous because their authors are forgotten, but because folkloric creativity differs from the process of artistic creativity in other genres. This article draws on the concept of semiotic ideology to analyse the assumptions that mediate how subscribers to the anonymity theory hear folk music. The anonymity theory resonates with recent scholarly accounts of collaborative or distributed creativity, though the network of agency it maps is distinct. Other scholars have described a semiotic ideology associated with romanticism whereby the materiality of semiotic forms is constitutive or reflective of the interiority of an individual creator’s self. The anonymity theory, meanwhile, takes the materiality of semiotic forms to reflect a collective self’s interiority, and it locates creative agency beyond the individuals most involved in folk songs’ production.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"52 - 72"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47803762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1080/17411912.2022.2153713
L. Whidden
{"title":"Listening to the fur trade, soundways and music in the British North American fur trade 1760–1840","authors":"L. Whidden","doi":"10.1080/17411912.2022.2153713","DOIUrl":"https://doi.org/10.1080/17411912.2022.2153713","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49282841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-07DOI: 10.1080/17411912.2022.2127115
Barbara Alge
{"title":"Hearing Brazil. Music and histories in Minas Gerais","authors":"Barbara Alge","doi":"10.1080/17411912.2022.2127115","DOIUrl":"https://doi.org/10.1080/17411912.2022.2127115","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"143 - 146"},"PeriodicalIF":0.8,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49582741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-07DOI: 10.1080/17411912.2022.2127116
Iain A. Fraser
musicology, even in the most prestigious institutions, cannot any longer assume knowledge of the standard repertory among their students. If such repertory is to be taught, this must necessarily be done somewhat along the lines of the ‘middlebrow’ pedagogy of half a century ago and more. The question is: Why bother? At this point Guthrie falters, in a manner slightly surprising for someone employed in a university. ‘Appreciation’, she writes, ‘described a process of acquiring specialist theoretical, historical, and biographical knowledge that would supposedly lead to enhanced musical understanding’ (p. 3). Why ‘supposedly’? Surely it is only Bourdieu’s bourgeois aesthete who would express such scepticism. One can explain to undergraduates in the greatest detail the ideological sleights of hand performed by devotees of aesthetic autonomy; at the same time, a claim to aesthetic autonomy remains an inescapable ideological component of ‘the standard repertory’, as we continue to call it. If cultural hierarchies still exist in Western societies, as Guthrie suggests (pp. 215–16), then educators have a duty not just to explain how these hierarchies find their social support, but also how to negotiate them.
{"title":"Auld Lang Syne: a song and its culture","authors":"Iain A. Fraser","doi":"10.1080/17411912.2022.2127116","DOIUrl":"https://doi.org/10.1080/17411912.2022.2127116","url":null,"abstract":"musicology, even in the most prestigious institutions, cannot any longer assume knowledge of the standard repertory among their students. If such repertory is to be taught, this must necessarily be done somewhat along the lines of the ‘middlebrow’ pedagogy of half a century ago and more. The question is: Why bother? At this point Guthrie falters, in a manner slightly surprising for someone employed in a university. ‘Appreciation’, she writes, ‘described a process of acquiring specialist theoretical, historical, and biographical knowledge that would supposedly lead to enhanced musical understanding’ (p. 3). Why ‘supposedly’? Surely it is only Bourdieu’s bourgeois aesthete who would express such scepticism. One can explain to undergraduates in the greatest detail the ideological sleights of hand performed by devotees of aesthetic autonomy; at the same time, a claim to aesthetic autonomy remains an inescapable ideological component of ‘the standard repertory’, as we continue to call it. If cultural hierarchies still exist in Western societies, as Guthrie suggests (pp. 215–16), then educators have a duty not just to explain how these hierarchies find their social support, but also how to negotiate them.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"152 - 154"},"PeriodicalIF":0.8,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49653861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Studies on a global history of music: a Balzan musicology project","authors":"Diau-long Shen, Rachel Adelstein, Pei-ling Huang, Min-erh Wang, Hui-ping Lee, Ming Cheng","doi":"10.1080/17411912.2022.2127117","DOIUrl":"https://doi.org/10.1080/17411912.2022.2127117","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46793126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17411912.2022.2145705
Linda Cimardi
For centuries, close and multifaceted connections between Europe and Africa have been articulated through imperialism and colonisation, economic and cultural exchanges, decolonisation processes and postcolonial heritage, and have been determined by the conditions of the diverse regions involved, resulting in the complex entanglements of the present global era. These connections have been marked by unbalanced power relations and economic asymmetries, as well as by ambiguous relationships of fascination and the construction and negotiation of Otherness based on race, ethnicity, religion, cultural traits, and social norms. Over the past decades, a rich literature in the field of postcolonial studies has tackled various aspects of the relations between Europe and Africa (and the former colonised world at large) and reflected critically on the long-lasting and everexpanding impact of colonialism. Such scholarship has revealed the inhumanity, violence, and racism of this oppression, and how its consequences have permeated almost every aspect of social, cultural, and artistic life, but has also brought to light forms of agency, strategies of resilience, spaces for negotiation, and acts of rebellion (Baaz 2001; Bhabha 1994; Gilroy 1993; Loomba 2005; Mamdani 1996; Mudimbe 1988; Said 1978). Music and other performing arts have played a significant role in intercultural relations by participating in imaginaries about those conceptualised as Others and have usually corroborated stereotypes of Otherness. This seems to be especially true for African musics and dances, whose repertoires, practices, instruments, and aesthetics have been imagined and perceived by the European hegemonic episteme in terms of sonic alterity and visual difference, representing the exotic, and embodying the ancestral, traditional, and untamed (Agawu 2003; Carl 2011; Castaldi 2006; Gilroy 1993). For the European gaze, the Otherness of African musics is often strictly tied to Blackness as both a visual and auditory feature, although, unlike for example North America, the racial element normally remains unstated by audiences, scholars, and performers (Radano and Bohlman 2000; Rastas and Seye 2016). From pre-colonial visual depictions and verbal descriptions in travellers’ accounts to colonial field recordings, from postcolonial commodification of African repertoires and genres in the world music global market to their massification as an exotic accompaniment, thick imaginings of Otherness have tinged African performative practices. Inequalities in power have meant that Africa and Europe are differently able to express their ideas, shape representations, and influence imaginaries of Otherness and sameness. European-derived representations of African performative practices and aesthetics
{"title":"African musics in Europe","authors":"Linda Cimardi","doi":"10.1080/17411912.2022.2145705","DOIUrl":"https://doi.org/10.1080/17411912.2022.2145705","url":null,"abstract":"For centuries, close and multifaceted connections between Europe and Africa have been articulated through imperialism and colonisation, economic and cultural exchanges, decolonisation processes and postcolonial heritage, and have been determined by the conditions of the diverse regions involved, resulting in the complex entanglements of the present global era. These connections have been marked by unbalanced power relations and economic asymmetries, as well as by ambiguous relationships of fascination and the construction and negotiation of Otherness based on race, ethnicity, religion, cultural traits, and social norms. Over the past decades, a rich literature in the field of postcolonial studies has tackled various aspects of the relations between Europe and Africa (and the former colonised world at large) and reflected critically on the long-lasting and everexpanding impact of colonialism. Such scholarship has revealed the inhumanity, violence, and racism of this oppression, and how its consequences have permeated almost every aspect of social, cultural, and artistic life, but has also brought to light forms of agency, strategies of resilience, spaces for negotiation, and acts of rebellion (Baaz 2001; Bhabha 1994; Gilroy 1993; Loomba 2005; Mamdani 1996; Mudimbe 1988; Said 1978). Music and other performing arts have played a significant role in intercultural relations by participating in imaginaries about those conceptualised as Others and have usually corroborated stereotypes of Otherness. This seems to be especially true for African musics and dances, whose repertoires, practices, instruments, and aesthetics have been imagined and perceived by the European hegemonic episteme in terms of sonic alterity and visual difference, representing the exotic, and embodying the ancestral, traditional, and untamed (Agawu 2003; Carl 2011; Castaldi 2006; Gilroy 1993). For the European gaze, the Otherness of African musics is often strictly tied to Blackness as both a visual and auditory feature, although, unlike for example North America, the racial element normally remains unstated by audiences, scholars, and performers (Radano and Bohlman 2000; Rastas and Seye 2016). From pre-colonial visual depictions and verbal descriptions in travellers’ accounts to colonial field recordings, from postcolonial commodification of African repertoires and genres in the world music global market to their massification as an exotic accompaniment, thick imaginings of Otherness have tinged African performative practices. Inequalities in power have meant that Africa and Europe are differently able to express their ideas, shape representations, and influence imaginaries of Otherness and sameness. European-derived representations of African performative practices and aesthetics","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"326 - 331"},"PeriodicalIF":0.8,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44132566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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